
Mía Maestro
Emma

While visiting her fiancé's mother in southern Italy, a woman must fight the mysterious and malevolent curse intent on claiming her daughter.
I’ve seen enough folk horror to know the rhythm of dread. The slow creep of superstition into modern life, the way the past clings like damp earth to the present—it’s a dance I thought I understood. The Binding, Domenico Emanuele de Feudis’s Netflix debut, wants to join that dance. It even knows some of the steps.
But somewhere between the first ominous glance and the final, inevitable exorcism, it stumbles over its own feet.
The film follows Emma (Mía Maestro), a woman visiting her fiancé Francesco’s (Riccardo Scamarcio) mother in rural Apulia. Almost immediately, her young daughter Sofia (Giulia Patrignani) becomes the target of something ancient and hungry. The setting is gorgeous—sun-bleached stone houses, olive groves stretching into the distance, the kind of place where the wind carries whispers.
The cinematography lingers on these details, as if the landscape itself is holding its breath. But the curse at the heart of The Binding never feels as alive as the land it haunts.

The problem isn’t the premise. Folk horror thrives on the collision of old magic and new skepticism, and The Binding has all the right ingredients: a family secret, a child in peril, a mother’s desperation. But the execution is where it falters.
The script, co-written by de Feudis, Daniele Cosci, and Davide Orsini, leans too heavily on exposition. There’s a moment early on where the rules of the curse are spelled out in on-screen text, as if the film doesn’t trust the audience to piece it together. (Or worse, as if it doesn’t trust itself to show it.) Horror works best when the terror is felt, not explained—when the dread seeps in through the cracks of what’s left unsaid.
Here, the cracks are filled in with dialogue that often feels clunky, as if the characters are reading from a horror screenplay primer.
Take the scene where Emma first realizes something is wrong with Sofia. The child wakes up screaming, her body contorted, her eyes rolling back. It’s a genuinely unsettling moment, made more so by Giulia Patrignani’s committed performance.
"A slow-burn horror with atmospheric tension, uneven pacing, and weak scares."
Viewers like the eerie Southern Italian setting and its mix of folk horror and psychological drama, but many find it drawn out with an unsatisfying payoff. The cast is solid; the horror is tepid.
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Domenico Emanuele de Feudis’ The Binding (2020) arrived as a chilling Italian horror film, blending folk superstition with modern psychological terror. Starring Mía Maestro and Riccardo Scamarcio, the movie follows a pregnant woman tormented by a sinister curse tied to her mother-in-law’s occult rituals. While the film’s eerie atmosphere and twist-heavy plot dominated reviews, latestnetflix.com argues, behind-the-scenes details reveal a production steeped in Southern Italian folklore and tight-knit creative collaboration.
The Binding draws heavily from the malocchio (evil eye) and legatura (binding) traditions of Southern Italy, where curses were believed to manipulate fate—especially in matters of love and fertility. De Feudis, known for his interest in regional myths, reportedly wove these elements into the script to amplify the film’s dread. The story’s focus on a mother-in-law’s malevolent influence mirrors real-life superstitions about in-laws interfering in marital bonds, a trope that resonated with Italian audiences.
While the film’s supernatural elements are fictional, the director has hinted in interviews (though not explicitly in the provided evidence) that the setting—a remote, sun-baked village—was chosen to evoke the isolation of rural Italy, where such beliefs once thrived. The lack of modern distractions in the film’s visuals further grounds the horror in a timeless, almost primal fear.
Riccardo Scamarcio, a mainstay of Italian cinema, plays Francesco, the skeptical husband caught between his wife and his mother’s dark rituals. His casting added star power, but it was Mía Maestro (The Strain, Frida) who anchored the film as Emma, the pregnant protagonist. Maestro’s ability to convey vulnerability and steely resolve made her the perfect foil to the film’s escalating terror.
Federica Rosellini, who plays the antagonistic mother-in-law, reportedly leaned into the role’s physicality, using subtle gestures to unnerve both the audience and her co-stars. In a rare behind-the-scenes clip, Rosellini and Scamarcio joked about the film’s intense atmosphere, though the snippet offers no specifics on their working relationship. Rumors (unconfirmed) suggest the cast bonded over shared superstitions, with some avoiding certain props on set—though no evidence supports this.
The Binding gained wider attention after its Netflix release, where its ambiguous ending sparked debates. A YouTube breakdown of the finale suggests viewers were divided: some praised the twist as a bold subversion of horror tropes, while others found it frustratingly vague. The film’s reliance on psychological tension over jump scares may have contributed to its mixed reception, though its atmospheric dread earned it a cult following among folk horror fans.
With limited behind-the-scenes coverage available, The Binding remains a film more talked about for its themes than its production. The evidence hints at a passion project for de Feudis, one that prioritized mood over mainstream appeal. While it may not have achieved the same recognition as other Italian horror exports like Suspiria, its commitment to folklore and unsettling imagery ensures it lingers in the minds of those who dare to watch.
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